In a futuristic city sharply divided between the working class and the city planners, the son of the city's mastermind falls in love with a working class prophet who predicts the coming of a savior to mediate their differences.
Johnnie loves his train ("The General") and Annabelle Lee. When the Civil War begins he is turned down for service because he's more valuable as an engineer. Annabelle thinks it's because he's a coward. Union spies capture The General with Annabelle on board. Johnnie must rescue both his loves. Written by
Ed Stephan <firstname.lastname@example.org>
The first try at getting the cannonball to shoot out of the cannon into the cab caused the ball to shoot with too much force. To cause it to shoot into the cab of the engine correctly, Buster Keaton had to count out the grains of gunpowder with tweezers. See more »
The General and Texas are seen numbered 3 and 5, respectively. At the time the film is set, the engines of the Western and Atlantic were only known by their names, as were the General and the Texas. The railroads in the Confederacy did not begin numbering their engines until after the war. At that time, the General and Texas were numbered 39 and 49, respectively. The General did not receive the number 3 until the 1880s, and the Texas was renumbered 12 in 1880, then 212 in 1890, and never received the number 5. See more »
No one will top Keaton for physical risk, and risk is what deep film experiences are all about. This might be classed as a comedy, but for me it touches deeply enough. Its about a man who needs to prove himself by taking risks and being true. And its by a man who takes even greater risks and is more true. True to the spirit of the social compact, here displayed as the chummy south.
He's always done stunts that amaze. Many of his other films have things in them that if the timing were only a little off, he'd be seriously injured, or die. But this takes the cake. Its almost as if he started with the idea that he'd have three locos to play with and had a year to think up stunts.
And the stunts are so physical! And so dangerous. And so, so very effective.
His trademark is the deadpan face placed as a sort of innocent cluelessness. Its particularly funny when you see the physical movements and you know that 1) they take incredible preparation and timing to pull off and 2) the fellow you see that looks so puzzled by the reality you see is the guy that devised and directed those stunts.
Ted's Evaluation -- 3 of 3: Worth watching.
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